Kiss Me, Kate

Surrey Mirror review - 20 March 2008
Review by Tony Flook

ESOS's production delivered sheer entertainment from the moment the full cast hit the pace with Another Opening, Another Show, right through to the inevitable happy ending.

Admittedly, the story of the on and off-stage relationships between fictional actors touring a musical version of The Taming of the Shrew takes a bit of following in places but the journey is more than worthwhile just to hear some of Cole Porter's most enduring and memorable numbers - especially when performed as well as here.

Director Paul Longhurst and the team cast every key and supporting role without compromise. It would be difficult to think of a better Lilli than Jane Hogg. Celebrating the first anniversary of her divorce from Fred, she was vituperative in the dressing room and a virago as Kate in the play within a play. She demonstrated her ability to hold the stage in her solo So In Love, although her I Hate Men could have used a little more passion.

Lee Power showed how fire fought fire as Fred and co-star Petruchio but recalled the good times in Were Thine That Special Face although later reflected wistfully Where Is The Life That Late I Led. Their voices were perfectly balanced in their duet Wunderbar.

Alys Dreux (Lois/Bianca) and Francis Radford (Bill/Lucentio) were equally well matched - she with a display of flighty, he portraying an amiable rogue.

Stephen Bonnett and Terry Foster made the most of the scene stealing opportunities offered to the 'gangsters' - not only in their showcase Brush Up Your Shakespeare but also as two unlikely actors, taking to the stage to ensure Lilli didn't skip town.

The opening to Act II was meticulously built by Jon Ford and the ensemble from a languid start to full throttle as they declared that it was Too Darn Hot. This was just one of choreographer Vanessa Chambers' many imaginative, often athletic routines.

Kevin Stuart weighed in with his portrayal of a bone-headed General and Nick Rogers contributed many brief, perfectly-timed, appearances as stage manager, Ralph.

The sparking, sometimes astringent dialogue, crisply delivered throughout was always audible.

Stage manager Ross Savage and the crew seemed to change locations in a blink which, together with episodes played in front of the drapes, meant that the action flowed continuously.

Musical Director Susan Rowlinson's interpretation of the score was, itself, worth the ticket price.